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    Earlier this month, two rock climbers achieved what many thought impossible: They climbed up the 3,000-foot-high Dawn Wall in Yosemite NationalPark without specialized equipment. Climbing without this equipment iscalled“free-climbing.”Until now, no one had free-climbed to the top of the rockface, which is a part of the mountain EI Capitan.

    El Capitan, which means“the captain”or“the chief”in Spanish, has always presented a challenge to climbers. But the Dawn Wall, on the mountain's southeast face, is a particularly difficult route to the summit (顶峰). It is a rock formation that is both steep and relatively smooth. This makes free-climbing the rock face seem almost impossible.

    About seven years ago, professional climber Tommy Caldwell spotted a possible route up the wall. It took years of planning and preparation, but this month, Caldwell, 36, and his friend Kevin Jorgeson, 30, finally make the climb.

    Free climbers do use ropes and other basic safety equipment to catch them if they fall — and Caldwell and Jorgeson fell often. Before starting their climb, they broke down their route into 32 sections. Each section was based on a rope length called a“pitch.”The rope was secured into the rock faceto catch the climbers if they fell.

    Caldwell and Jorgeson's goal was to climb the DawnWall without returning to the ground. If they fell, they had to start that pitch all over again. The two men started climbing on December 27. They slept in hanging tents, and a team of friends brought them food each day.

    The men had spent years rehearsing (排练) them ovements it would take to get through each pitch. They made it through the fist half of the climb relatively easily. But halfway up, Jorgeson ran into trouble. In one difficult spot, he fell each time he attempted to climb. After10 days of trying, Jorgeson finally made it to the next pitch.

    Getting through that troublesome pitch gave both climbers renewed energy. They finished the rest of the climb five days later, on January 14.

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漫谈“漫画”

    孩子们吵架,有一个用木炭——上海是大抵用铅笔了——在墙壁上写道:“小三子可乎之及及也,同同三千三百刀!”①这和政治之类是毫不相干的,然而不能算小品文。画也一样,住家的恨路人到对门来小解,就在墙上画一个乌龟,题几句话,也不能叫它作“漫画”。为什么呢?就因为这和被画者的形体或精神,是绝无关系的。

    漫画的第一件紧要事是诚实,要确切的显示了事件或人物的姿态,也就是精神。

    漫画是Karikatur的译名,那“漫”,并不是中国旧日的文人学士之所谓“漫题”“漫书”的“漫”。当然也可以不假思索,一挥而就的,但因为发芽于诚实的心,所以那结果也不会仅是嬉皮笑脸。这一种画,在中国的过去的绘画里很少见,《百丑图》或《三十六声粉铎图》庶几近之,可惜的是不过戏文里的丑脚的摹写;罗两峰的《鬼趣图》,当不得已时,或者也就算进去罢,但它又太离开了人间。

    漫画要使人一目了然,所以那最普通的方法是“夸张”,但又不是胡闹。无缘无故的将所攻击或暴露的对象画作一头驴,恰如拍马家将所拍的对象做成一个神一样,是毫没有效果的,假如那对象其实并无驴气息或神气息。然而如果真有些驴气息,那就糟了,从此之后,越看越像,比读一本做得很厚的传记还明白。关于事件的漫画,也一样的。所以漫画虽然有夸张,却还是要诚实。“燕山雪花大如席”,是夸张,但燕山究竟有雪花,就含着一点诚实在里面,使我们立刻知道燕山原来有这么冷。如果说“广州雪花大如席”,那可就变成笑话了。

    “夸张”这两个字也许有些语病,那么,说是“廓大”也可以的。廓大一个事件或人物的特点固然使漫画容易显出效果来,但廓大了并非特点之处却更容易显出效果。矮而胖的,瘦而长的,他本身就有漫画相了,再给他秃头,近视眼,画得再矮而胖些,瘦而长些,总可以使读者发笑。但一位白净苗条的美人,就很不容易设法,有些漫画家画作一个骷髅或狐狸之类,却不过是在报告自己的低能。有些漫画家却不用这呆法子,他用廓大镜照了她露出的搽粉的臂膊,看出她皮肤的褶皱,看见了这些褶皱中间的粉和泥的黑白画。这么一来,漫画稿子就成功了,然而这是真实,倘不信,大家或自己也用廓大镜去照照去。于是她也只好承认这真实,倘要好,就用肥皂和毛刷去洗一通。

    因为真实,所以也有力。但这种漫画,在中国是很难生存的。我记得去年就有一位文学家说过,他最讨厌论人用显微镜。

    欧洲先前,也并不两样。漫画虽然是暴露,讥刺,甚而至于是攻击的,但因为读者多是上等的雅人,所以漫画家的笔锋的所向,往往只在那些无拳无勇的无告者,用他们的可笑,衬出雅人们的完全和高尚来,以分得一枝雪茄的生意。像西班牙的戈雅和法国的陀密埃②那样的漫画家,到底还是不可多得的。

【注】①“小三子可乎之及及也”二句,意思是“小三子可恶之极,戳他三千三百刀。”②戈雅:西班牙讽刺画家,作品多取材于民间生活;陀密埃:法国画家,晚年曾参加巴黎公社革命运动。